Yvonne Arnaud – until 21^st October 2023

Review by Heather Chalkley

4****

This award winning adaptation of Daniel Waters film Heathers packs a punch. Appealing to a young audience, it delivers key messages about issues that every blossoming adolescent faces in their final years of high school. Based in America, the film is relevant to young adults everywhere.

First off, the quality of singing and music is outstanding all the way through. The score tells a story of consequences woven through a script full of love, hate, suicide, violence, abuse, bullying, sex, sexuality and murder!

Jenna Innes (Veronica Sawyer) puts every emotion out there, flipping through fear, joy, guilt and anger with passion and gusto. This is matched by the trio of Heathers (Elise Zavou, Verity Thompson, Billie Bowman). Each Heather representing a different aspect of what it is to be ‘popular’. Jacob Fowler (Jason ‘J.D.’ Dean) uses his physicality to pervade the stage with an eerie menace, overlaid with charm and intelligence. The build-up of J.D. and Veronica’s relationship and the intertwining darkness is painfully, realistically performed by Fowler and Innes. The light to balance the shade of the piece is provided by the jocks Kurt (Alex Woodward) and Ram (Morgan Jackson) who spent the majority of the performance in their underpants! The whole ensemble underlines the impact and consequences of your actions, which are so condensed and magnified in the high school environment. However the youthful joy of life and energy of being young bursts its way through in the song and dance.

The choreography and costume is sharp and direct, leaving you under no illusions that this is a high school full of energetic young people on a journey of discovery.

This is an in-your-face performance laying out some strong social challenges, which will not suit everyone. However, this piece is fast becoming cult viewing, a coming of age play that reaches into the hearts of every young adult.

Live Theatre, Newcastle upon Tyne – until 28th October2023

Reviewed by Sandra Little

4****

This latest offering from Live Theatre is a 3 part play based around the McCarthy family’s gatherings at a funeral, a wedding and a christening, over a period of 5 years. The play is described by Live Theatre as the centrepiece of their 50th anniversary season and is written by Elijah Young. The action takes place around the buffet table in a fairly sparse room and throughout the course of the play we meet five family members.

The first buffet follows a Catholic funeral for Evelyn’s (Jane Holman) husband where family tensions begin to emerge. Evelyn is not happy with her son David (Jim Kitson) and he accuses her of holding grudges. There are tense conversations about the will and how to deal with Evelyn’s husband’s ashes. Despite the gloom of this scene there is also humour. At one point Evelyn tells her family that they are divvying up her husband’s ashes not a traybake!

Act two takes us to the buffet for the wedding of David and his new wife Ayeesha, played by Amara Karen. This act involves a great deal of melodrama, argument and a fight! There is a dance routine but it’s definitely no competition for Strictly ! I felt that this was the most comedic of the three acts, however serious family tensions emerged . Suffice to say Evelyn arrives with an item that does not help the wedding atmosphere! She continues to express her strong opinions and tells other guests that she thinks that choosing purple as a colour theme makes the room look like a Dairy Milk advertisement!

The final scene is a Christening buffet. Family tensions continue to prevail and one of these issues, that runs throughout the whole play, is the relationship between David and his gay son Ellis, played by Nick Blakely. Ellis finds these family occasions very difficult to deal with for a host of reasons, however the final scene does have a very touching conclusion and I felt that there was tenderness and love demonstrated that people often struggle to express.

Throughout the play themes relating to loyalty, feelings of belonging, and also clashes of personality are explored. It is often apparently minor issues, such as seating arrangements at the wedding, that have a major impact on family relationships. I did enjoy this performance and found it an interesting and entertaining way to present a fairly familiar subject, namely family conflict. The themes explored will, I suspect, strike a chord with many members of the audience.

This play is recommended for ages over 14+ and does contain strong language.

Blackpool Grand – until Saturday 21st October 2023

Reviewed by Debra Skelton

5*****

Nottingham Playhouse presents The Real and Imagined History of the Elephant Man which is written by Tom Wright and directed by Stephen Bailey.

This can be seen at the Blackpool Grand Theatre until Saturday 21st October and must not be missed.

The play is based on the well know story of Joseph Carey Merrick born in Leicester England in August 1862 who became famous for his face and body deformities because of an undiagnosed illness.

At an early age, he began to show signs of a peculiar disorder which caused abnormal growths on much of the skin and bone across his body with his head increasing to 3 feet in circumference.

When his mother died and his father remarried, both his father and stepmother did not want him to remain at home so at 17, he went to live in a workhouse where he remained for four years before escaping to join showman Sam Torr. Merrick asked Torr to show him as a freak exhibition where he was displayed as ‘The Elephant Man’. Merrick stayed with the show touring around the East Midlands until he left to go to London.

In London he lived in a shop on Whitechapel Road where people would pay to see him. He did not stay long here as the shop was closed by the police, so Joseph moved to Belgium for a while until returning to England after being robbed by his manager and left alone in Brussels.

After finding his way back to London, he is taken to a hospital by surgeon doctor Frederick Treves who had seen Joseph and taken photographs of him when he lived on Whitechapel Road.

Joseph was allowed to live at the hospital for the rest of his life but had to endure the rich and famous people of Victorian London coming to visit him there. He died there at the age of 27 on 11 April 1890 from asphyxia or a broken neck. It is still not known for sure what Joseph suffered from, but scientists believe it could have been either neurofibromatosis type I or Proteus syndrome.

What I liked about this play was the way that Tom Wright looked at the view of Joseph himself and focused on him as a person and the way that he felt when people considered him a freak rather than a human being.

The cast themselves were unbelievable, especially bringing their disabilities into the production which only made this play phenomenal. Their talent, passion, energy, and enthusiasm shone throughout and just showed to me that you can achieve what you want no matter what.

Zak Ford-Williams an actor with cerebral palsy plays Joseph Merrick and by using his own condition instead of recreating Joseph’s actual appearance was a truly brilliant idea. Nadia Nadarajah, who is deaf, sensitively portrays Nurse Willison, who is tender and understanding towards Joseph. The rest of the cast included Annabelle Davis, Daneka Etchells, Killian Thomas Lefevre and Tim Pritchett who gave outstanding performances which led to a standing ovation at the end of the night.

A special thanks also needs to go to the creative and production team of which there are many in providing such and adaptable set, authentic costumes, lighting, and music.

Nottingham Theatre Royal – until Saturday 23 October 2023

Reviewed by Louise Ford

3***

My cup of tea? Etc… etc… etc…

I have fond memories of watching the 1956 Hollywood musical film of the King and I with the glorious Yul Brynner and Deborah Kerr. I hadn’t realised, not sure how it had passed me by, that the film was based on a 1951 musical by Rodgers and Hammerstein and didn’t just appear perfectly formed in all of its on screen glory. The film was nominated for 9 Oscars and won 5, including best actor for Bryner.

The musical and film are based on the novel by Margaret Landon which in turn was based on the memories written by Anne Leonowens. So there is a lot of history and interpretations in the mix.

The songs are familiar and catchy in equal measure although they don’t have the impact of some of their (Rodger’s and Hammerstein’s) more famous musicals The Sound of Music or Oklahoma, for example. What the songs and the musical does have is the post WW11 view of America, democracy and the West being best and the East being exotic, barbaric and in need of (scientific) education. I think that it is this tone or message that makes it an uncomfortable watch today. It should be an amazing story of a brave and adventurous woman and her son having an incredible journey in an area of the globe  that is going through changes and trying to assert itself in a developing world. Instead the story just reels out the Colonial prejudice and misogyny of the past.

I think that with some tweaks and a bit of a rewrite the story could have been updated to give a more meaningful and insightful view of the period. Whilst keeping the humour and clash of cultures and personalities at its heart.

But we are where we are and the current production, directed by Bartlett Sher started its UK tour in January 2023 and is due to transfer to the West End in 2024 is a faithful and energetic retelling of the story.

The set designed by Michael Yeargan is quite pared back but nevertheless manages to convey the Imperial Palace with the use of sumptuous fabrics, moving pillars and effective lighting (also Yeargan).

The musical opens with Anna (Maria Coyne) on board the Chow Phya  taking her and her son Louis (Charlie McGuire) to Bangkok. It is 1862 and Anna is newly widowed, she is taking up a new post as governess to the King of Siam’s 87 (and increasing) children. There is an ominous and impressive red sunset silhouetting the travellers . To keep their spirits up Anna shares with Louis her secret; that when she is afraid she whistles a happy tune. Cue ear worm!

Anna and Louis despite being advised against taking up the role by the kindly and concerned Captain Orton (Sam Jenkins-Shaw), venture onto the Palace. They are greeted with pomp and confusion by Kralahome (Kok-Hwa Lie), the King’s advisor. Who isn’t that pleased to see them. The King (Darren Lee) has a more subdued entrance on to the set, although he does become more dominant and charismatic as the story unfolds. Anna is played brilliantly as the clipped-vowel’d, up tight Victorian nanny/governess, all very Mary Poppins in a super large skirt! She does however get to let her hair down and expose her shoulders when attending the dinner dance for the visiting dignitaries.

The costumes by Catherine Zuber fall into two camps the neat and tidy Siamese dress and the over the top, absurd Victorian gowns worn by Anna.

The part that I enjoyed the most was the dancing and the ensemble production of The Small House of Uncle Thomas. The costumes and choreography were a delight.

The Nottingham audience were entranced by the production they sang along to the familiar songs, oohed and ahhhed  at the children (they were mischievous and appealing in equal measure) and were moved to tears at the final scene and gave the show a standing ovation!

Lyceum Theatre, Sheffield – until 21 October 2023

Reviewed by Alison Beaumont

5*****

For anyone that doesn’t know the story of Annie, it is about a young girl “Annie” who lives a life of drudgery in an orphanage run by Miss Hannighan. Annie is chosen to spend the Christmas period with a billionaire Mr Oliver Warbucks. Mr Warbucks falls adores Annie and wants to adopt her, but Annie is intent on finding her parents who left her at the orphanage all those years ago.

Annie is one of my all-time favourite films from my childhood so I was really excited to see this musical and I left as happy as when I went in.

Miss Hannighan was played by the famous Craig Revel-Horwood. His dancing, singing and acting skills are without doubt amazing, I’m not sure I will be able to look at him the same again on Strictly Come Dancing. He was just “fab-u-lous darling”. Some of the performances are being played by Jodie Prenger who I am sure will also make a brilliant Miss Hannigan. I do feel it would be poignant not to mention the late Paul O’Grady who everyone knew and loved who played this role, I’m sure both Craig and Jodie have found it hard to follow in his footsteps.

As is usual for the casting of roles for main parts for children each role has three children playing them and, on this occasion, Annie, was played by Harlie Barthram. Harlie performed exceptionally and sounded so like Annie she really did get the character spot on and was for me the perfect Annie. She captures Annie’s cheekiness and plays the role with such confidence. She wasn’t fazed by Sandy (the dog) when he was trying to find the treats in her pockets.

Amelia Adams is delightful as Grace Farrell and her vocal and acting skills make her the right choice for the maternal mother figure for Annie.

Molly on this occasion was played by little Chloe Angiama who was so cute and adorable.

All the children were very talented and have got bright futures ahead of them.

The orchestra was very good although I did feel that at times, they were a little bit loud when the children were singing but Harlie rose above it when she sang the iconic song “Tomorrow”.

This show is for all ages and will certainly not disappoint.

Doctor Who’s Colin Baker and The Archers’
Terry Molloy return in Sherlock Holmes’ The
Hound of the Baskervilles live on stage
UK Tour: March – May 2024

After delighting audiences up and down the country in 2022, Crime And Comedy Theatre Company are reuniting Doctor Who stars Colin Baker (Doctor Who, BBC; The Brothers, BBC) and Terry Molloy (The Archers, BBC Radio 4; Doctor Who, BBC) once more in their new stage adaptation of Sir Arthur Conan Doyle’s world-famous tale The Hound of the Baskervilles. Treading the boards in spring 2024, audiences are invited to this radio-play-on-stage, to be transported to the mysterious moors in this classic detective tale.

Once facing each other as mortal enemies as the Doctor and Davros in Doctor Who, Baker and Molloy, who is best known for playing the infamous Mike Tucker in The Archers for over 40 years, return as the iconic dynamic duo of Holmes and Watson respectively. Joined once again by Dee Sadler (No Place Like Home, BBC; All Creatures Great and Small, BBC) as Doctor Mortimer, this production brings to life one of the greatest detective mysteries ever told

Adaptor and director Martin Parsons comments, We originally staged this brand new adaptation of The Hound of the Baskervilles in 2022 to commemorate the 120th anniversary of its publication. But such was the popularity of the tour with audiences that we’re delighted to be returning to theatres in 2024. The key to its success was the pitch-perfect performances of Colin Baker and Terry Molloy in their portrayals of Sherlock Holmes and Dr Watson. We’re in for another treat and I’m thrilled to be able to bring two such fine actors together again on stage in these iconic roles.

The cast is completed by Kate Ashmead (The Importance of Being Earnest, Palchetto Stage; Educating Rita, Regent Theatre) as Mrs Barrymore and Martin Parsons (Doctor Who, Big Finish; Eric Chappell’s Ground Rules, UK Tour) as Jack Stapleton.

The setting is a radio studio, the actors ready as if for a radio broadcast, and the sound effects created live on stage, all combining to transport the audience from Baker Street to Dartmoor, as this tale of murder, mystery and horror is brought to life – surely the greatest detective story ever told! A rare chance to see these popular actors live at your local theatre, this is a play not to be missed.

Previous praise for The Hound of the Baskervilles:

Colin Baker was born to be Sherlock Holmes, Terry Molloy is my favourite Dr Watson to date. A phenomenal evening at the theatre, I can’t recommend this play enough! – ★★★★★ Entertainment Views

Colin Baker & Terry Molloy have terrific stage presence & their interactions sparkle – one not to miss! – ★★★★★ Cult Box

An immensely entertaining evening – ★★★★ West End Best Friend

Holmes & Watson at their best! – ★★★★ Sadie Takes The Stage

A well-judged production in every sense… a howling success! – ★★★★ Be My Guest

A master class in razor-sharp interplay – Henley Standard

PERFORMED IN VICTORIAN SPLENDOUR AT HOXTON HALL

The Festive Spirits arrive early at Hoxton Hall on Saturday 2 and Sunday 3 December at 4pm, with the award winning Dickens Theatre Company’s joyously authentic

production of A Christmas Carol,staged in the most perfect setting – the unique Grade II* listed Victorian Music Hall -the world renowned Hoxton Hall.

Built in 1863, Hoxton Hall‘s stunning original wrought iron balconies and fireplaces in the auditorium will add an extra level of theatrical magic to Charles Dickens’ famous Christmas ghost story and Victorian classic, A Christmas Carol.

As A Christmas Carol’s classic ghosts: Marley and the ghosts of Christmas Past, Present and Future reveal themselves – Hoxton Hall‘s very own Victorian ghosts (of which there are many within the walls of this beautiful and historic building), will sparkle and applaud their fellow spirits!

The wonderfully uplifting and unique interpretation of A Christmas Carol – with just two actors Ryan Philpott and Hannah Blaikie taking on over 30 characters, is a fast-paced and action-packed 75 minute production! Eastend actor, Ryan Philpott, is delighted to be back on home turf, is known for his regular role in Eastenders over the past 14 years (Seargent Kenny Morris) says: “Hoxton Hall has to be the perfect venue for DTC’s A Christmas Carol , and is the first time we have performed it in a proper Victorian Music Hall. The fictitious counting house that belonged to Scrooge and Marley is half a mile away and Charles Dickens was famous for his night walks from his home in Chancery Lane out towards the City and the East and must have frequented Hoxton Hall regularly. I can hear Marley’s chains already!”

Dickensian London comes to life behind Hoxton Hall’s classic 19^th Century frontage on Hoxton Street – a street walked by Charles Dickens – a regular visitor to the variety shows at Hoxton Hall.

A Christmas Carol is adapted by Ryan Philpott, directed by Eric Richard, with the most beautiful and haunting music by Paul Higgs.

A Christmas Carol – a Joyful and Festive start to December’s festivities at Hoxton Hall – bursting with Victorian pride and joy!

NEW IMAGERY RELEASED AHEAD OF EPIC NEW COLLABORATION

BALLETBOYZ:

ENGLAND ON FIRE

• BALLETBOYZ RETURN TO THE STAGE WITH THEIR MOST AMBITIOUS PRODUCTION YET, COLLABORATING WITH OVER 40 CHOREOGRAPHERS, COMPOSERS, DANCERS, ARTISTS AND PERFORMERS
   
• BRAND NEW IMAGERY BY GEORGE PIPER AND TEASER TRAILER RELEASED
   
• FOUR PERFORMANCES ONLY AT SADLER’S WELLS 8-11 NOVEMBER

Widely acclaimed dance pioneers, BalletBoyz return to the stage this winter with England on Fire at Sadler’s Wells for four nights only from Wednesday 8 – Saturday 11 November 2023.

Inspired by the groundbreaking artbook of the same name by Stephen Ellcock and Mat Osman, England on Fire will see over 40 collaborators across multiple disciplines including choreographers, composers, dancers and performers come together to create a unique kaleidoscope of mesmerising performance. BalletBoyz will bring together leading artists in their field for a performance featuring arresting visuals accompanied by live music from folk to punk and everything in-between and supported by a 3D soundscape for a truly immersive theatrical experience, allowing a sound-world to be choreographed to augment the movement on stage. 

England on Fire will be an evocative journey into contemporary life that defies all expectation, seen through the eyes of an innocent observer. The production recounts a search for meaning amidst the challenges of life, modern, and ancient. Audiences are invited to get lost in elusive explorations of trust and betrayal, friendship and love, identity and loneliness, honour and redemption. Through an eclectic array of voices curated by Michael Nunn and Billy Trevitt, England on Fire is a genre-defying spectacle of political and artistic intrigue, with artists both new and returning to collaborating with BalletBoyz. 

England on Fire will bring together some of dance’s leading choreographers for this one-off event including Edd Arnold, Lucy Bennett, Holly Blakey, Ola Ince, Shelley Maxwell, Russell Maliphant, Vidya Patel and Thick & Tight. 

Acclaimed composers contributing to England On Fire include Gwilym Gold, Charlotte Harding, Keaton Henson, Cassie Kinoshi, Mukul and Joe Zeitlin. Performers Gag Salon and Kami Thompson will take to the stage alongside a company of exceptional dancers.

The BalletBoyz company for England on Fire will include dancers Edd Arnold, Harry Alexander, Tania Dimbelolo, Seirian Griffiths, Benji Knapper, Roseanna Lindsey, Luigi Nardone, Folu Odimayo, Sophie Ormiston, Oxana Panchenko, Artemis Stamouli, Meghan Stevens, Kai Tomioka, and Holly Vallis. 

BalletBoyz founders, Michael Nunn and William Trevitt said; “With England on Fire, we’re doing what we love best: embracing the chaos of an eclectic group of collaborators without fear or inhibition. 

“In pursuit of our lifelong ambition to redefine what performance can do, we have provided a stimulus to artists to explore the experience of the marginalised, and it has been exciting to see the diverse range of interpretations that have been created. 

“We realised that we no longer wanted to second-guess every element of making new productions for fear of getting it wrong; instead, we are following our instincts and presenting an extraordinary cultural event that exemplifies a confident England, on fire with talent, ambition, potential and rebellion. (But no cash).“

Stephen Ellcock is an ‘image alchemist’, curator, and author of England On Fire with Mat Osman. His newest book, Underworlds, is out now with Thames & Hudson.

Twitter: @BalletBoyz | Facebook: /BalletBoyz | Instagram: @BalletBoyz

JIMMY WALTERS DIRECTS EUROPEAN PREMIÈRE OF

MICHAEL HEALEY’S

HIT SATIRICAL POLITICAL COMEDY 1979

Sarah Lawrie for Proud Haddock in association with Neil McPherson for the Finborough Theatre today announce the creative team for the European première of award-winning playwright Michael Healey’s hit satirical political comedy 1979 at the Finborough Theatre. Jimmy Walters directs, with design by Mim Houghton and sound design by Julian Starr.

The production opens on 4 January 2024, with previews from 2 January, and runs until 27 January 2024.

This fast-paced satirical political comedy is an illuminating insight into the rapidly changing world of Conservative party politics.

Jimmy Walters, Artistic Director of Proud Haddock, says: “As the UK heads into what will almost certainly be another General Election year, the timeliness of our production is very apt, and will hopefully bring some much-needed light relief to our own political landscape.”

Sarah Lawrie for Proud Haddock in association with

Neil McPherson for the Finborough Theatre present

1979

By Michael Healey

Director: Jimmy Walters; Designer: Mim Houghton; Sound Design: Julian Starr

2 – 27 January 2024

“You’re a forgettable blank. A complete nobody. You’re the leader of this country, and the vast majority of Canadians couldn’t pick you out of a police line-up. And that’s good. As long as the leader is as still, silent, and blank as possible…he can do whatever he wants.”

In May 1979, Progressive Conservative Joe Clark was elected as Canada’s youngest ever Prime Minister.

By Christmas 1979, it looked as though it was all over.

But Clark is young and idealistic, resolute on making his mark in office, and governing for the whole country, not just his own party supporters. Faced with a critical decision, his colleagues – including his predecessor Pierre Trudeau – take the opportunity to steer him in completely different directions…

1979 opened to great critical acclaim on its première in Calgary in 2017, and received six Betty Mitchell Award nominations. The production subsequently ran at the Berkeley Street Theatre in Toronto in 2019.

Michael Healey is a playwright and actor. His first play, Kicked, was produced at the Fringe of Toronto Festival in 1996, subsequently toured across Canada and internationally, and won Toronto’s most prestigious theatre award, the Dora Mavor Moore Award for Best New Play. The Drawer Boy, his first full-length play, premièred in Toronto in 1999, and won the Dora Mavor Moore Award for Best New Play. Healey’s other works include The Road To Hell (co-authored with Kate Lynch), Plan B, Rune Arlidge, The Innocent Eye Test, The Nuttalls, and Are You Okay. Finborough Theatre has presented three productions of his work including his UK debut with Generous, the London première of The Drawer Boy and the UK première of Proud. His trilogy focusing on Canadian values and politics, entitled Generous, Courageous, and Proud has had multiple productions in Canada, and his plays have won the Dora Mavor Moore Award for Best New Play five times. He has also adapted works by Chekhov, Molnar, Hecht and MacArthur, Dürrenmatt and Bernard Shaw for the Stratford Festival, the Shaw Festival and Soulpepper, Toronto. Healey’s newest play The Master Plan, will première in Toronto in Autumn 2023.

Artistic Director of Proud Haddock Jimmy Walters directs. Previous credits at Finborough Theatre include Square Rounds, The Trackers of Oxyrhynchus, How to Survive an Apocalypse and A Subject of Scandal and Concern. Other directing credits include The Skin Game, Billy Bishop Goes To War and The Dog Beneath The Skin (Jermyn Street Theatre), Mrs Orwell (Southwark Playhouse), Julius Caesar (Saatchi Gallery), A Naughty Night With Noël Coward (Old Red Lion Theatre) Improbable Fiction (Courtyard Theatre), Hamlet (Bedouin Shakespeare Company), I the Jury (Hen and Chickens Theatre), Watching Paint Dry (Barons Court Theatre), Breaded Butler (Troubadour) and Dear Ray (Edinburgh Festival). Credits as Assistant Director include Young Shakespeare Company tours of Twelfth Night and Romeo and Juliet (Bloomsbury Theatre), Othello (Riverside Studios) and Knock Yourself Out (Courtyard Theatre).

Listings

1979

Finborough Theatre

118 Finborough Road, London SW10 9ED

1979

2 – 27 January 2024

Tuesday to Saturday evenings at 7.30pm

Saturday and Sunday matinees at 3.00pm

Book online at www.finboroughtheatre.co.uk

Box Office 020 7244 7439

No booking fees

Approximately 90 minutes with no interval

Ticket prices

Previews (2 and 3 January) £15 all seats

£15 tickets for residents of the Royal Borough of Kensington and Chelsea and the London Borough of Hammersmith and Fulham on Saturday, 6 January 2024 at 7.30pm when booked online only.

£10 tickets for Under 30s for performances from Tuesday to Sunday of the first week when booked online only.

Prices until 14 January 2024 – Tickets £20, £18 concessions, except Tuesday evenings £18 all seats, and Friday and Saturday evenings £20 all seats.

Prices from 16 January 2024 – Tickets £23, £20 concessions, except Tuesday evenings £20 all seats, and Friday and Saturday evenings £23 all seats.

RUNAWAY ENTERTAINMENT PRESENTS THE UK TOUR OF

NEW MUSICAL VERSION OF THE CLASSIC FAMILY TALE

TO TOUR THE UK IN 2024

A new musical version of Dodie Smith’s classic book 101 Dalmatians will embark on a UK tour,  launching at the New Wimbledon Theatre in June 2024.

This new musical is written by Douglas Hodge (music and lyrics) and Johnny McKnight (book), from a stage adaptation by Zinnie Harris and is reimagined from the acclaimed Regent’s Park Open Air Theatre production in 2022. Cast and creative team to be announced.

When fashionista Cruella de Vil plots to swipe all the Dalmatian puppies in town to create her fabulous new fur coat, there’s trouble ahead for Pongo and Perdi and their litter of adorable, tail-wagging young pups.

This classic canine caper is brought to life on stage with spectacular puppetry, show-stopping choreography, hilarious songs and irresistible puppies!

After launching in Wimbledon the production will visit Birmingham, Norwich, Canterbury, Leicester, Manchester, Belfast, Wolverhampton, Newcastle, Southend, Liverpool, Milton Keynes, Woking, Cardiff, Southampton, Aberdeen, York, Glasgow and Edinburgh. Further dates to be announced.

For more information visit www.101dalmatians.co.uk.

Follow 101 Dalmatians The Musical on social media:

Facebook: /101Dalmatians

Instagram/TikTok: @101DalmatiansUK

101 DALMATIANS THE MUSICAL 2024 UK TOUR VENUES

New Wimbledon Theatre

22-29 June 2024

www.atgtickets.com/venues/new-wimbledon-theatre

Priority on sale now, general on sale Friday 20 October 2023

Alexandra Theatre, Birmingham 

2-6 July 2024

www.atgtickets.com/venues/the-alexandra-theatre-birmingham

Priority on sale now, general on sale Friday 20 October 2023

Norwich Theatre Royal

9-13 July 2024

www.norwichtheatre.org

On sale now

Canterbury Marlowe Theatre

16-20 July 2024

www.marlowetheatre.com

On sale soon

Leicester Curve

23-27 July 2024

www.curveonline.co.uk 

On sale soon

Palace Theatre, Manchester

30 July – 10 August 2024

www.atgtickets.com/venues/palace-theatre-manchester

Priority on sale now, general on sale Friday 20 October 2023

Belfast Grand Opera House

13-17 August 2024

www.goh.co.uk

On sale now

Wolverhampton Grand Theatre

20-24 August 2024

www.grandtheatre.co.uk

On sale soon

Newcastle Theatre Royal

27 August – 1 September 2024

www.theatreroyal.co.uk

On sale soon

Cliffs Pavilion, Southend

5-8 September 2024

www.southendtheatres.org.uk

On sale soon

Liverpool Empire

24-28 September 2024

www.atgtickets.com/venues/liverpool-empire

Priority on sale now, general on sale Friday 20 October 2023

Milton Keynes Theatre

1-5 October 2024

www.atgtickets.com/venues/milton-keynes-theatre

Priority on sale now, general on sale Friday 20 October 2023

Woking, New Victoria Theatre

8-12 October 2024

www.atgtickets.com/venues/new-victoria-theatre

Priority on sale now, general on sale Friday 20 October 2023

New Theatre Cardiff

15-19 October 2024

www.newtheatrecardiff.co.uk 

On sale soon

Southampton Mayflower Theatre

22-26 October 2024

www.mayflower.org.uk

On sale soon

His Majesty’s Theatre, Aberdeen

29 October-2 November 2024

www.aberdeenperformingarts.com/his-majestys-theatre

On sale soon

York Grand Opera House

5-9 November 2024

www.atgtickets.com/venues/grand-opera-house-york/ 

Priority on sale now, general on sale Friday 20 October 2023

Glasgow King’s Theatre

12-16 November 2024

https://www.atgtickets.com/venues/kings-theatre-glasgow/

Priority on sale now, general on sale Friday 20 October 2023

Edinburgh Playhouse

19-23 November 2024

www.atgtickets.com/venues/edinburgh-playhouse

Priority on sale now, general on sale Friday 20 October 2023